The Musical’ reveals the ache of Bicol’s flooded, red-tagged communities

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Hailed as certainly one of Bicol’s greatest performs, the musical amplifies the voices of communities ravaged by worsening floods, marginalization, corruption, and human rights violations

ALBAY, Philippines – Utilizing hymns as protests and performing as a fierce testimony, Sining Banwa‘s Higit sa Pag-ibig: The Musical powerfully phases a collective demand for local weather justice.

Hailed as certainly one of Bicol’s greatest performs, it amplifies the voices of communities ravaged by worsening floods, marginalization, corruption, and human rights violations.

Set in Barangay Eskwala, a slum space relentlessly flooded as a consequence of fast urbanization and steady authorities neglect, the play instantly immerses the viewers within the residents’ combat. Their struggles for a greater future and group welfare kinds the muse of the characters’ pursuit for what is bigger than love.

‘COZSEANA’. Tonyang takes middle stage, main your complete Eskwala Middle crew as they carry out ‘Pumalakpak,’a rousing quantity from their authentic soundtrack. Photograph by Zachary Oliver Gonzales/Rappler

Tonyang, reprised by Camile Berces, who performed the position within the 2023 run, is a number one determine in Eskwala. Regardless of her terminal most cancers, she manages a middle that teaches youngsters to learn and serves as a forefront of the group’s protection in opposition to threats of demolition.

Tonyang’s position is a tribute to courageous Bicolana activists who served their communities regardless of private illnesses and struggles. This lineage echoes occasions from the Martial Legislation period, when Bicolana hero Liliosa Hilao fought the dictatorship and state tyranny even whereas affected by bronchial asthma.

RESISTANCE. With a defiant cry of ‘Sa’tin ang Eskwala’ (Eskwala is ours), residents fiercely erect a barricade to satisfy the demolition workforce, launching a determined bodily standoff to halt their expulsion. Photograph by Zachary Oliver Gonzales/Rappler

Flood nightmare

Berces’ highly effective melodies vividly deliver Tonyang’s character to life, delivering memorable moments and features that resonate with the viewers.

In certainly one of her strains, Tonyang says: “Hindi ako takot sa kamatayan; mas takot ako sa buhay dahil ang ibig sabihin nito ay totoo ito…. Hindi isa lang na bangungot.”

(I’m not afraid of loss of life; I’m extra afraid of life, as a result of meaning that is actual…. This isn’t only a nightmare.)

The play’s depiction of worsening flooding in marginalized communities rings true for Bicol. The area has endured steady devastation as a consequence of flooding regardless of billions spent on flood management tasks.

RED-TAGGED. Shockwaves hit the Defenders of Eskwala after they discover their streets strewn with propaganda tarpaulins that viciously label anti-demolition protesters as terrorists. Photograph by Zachary Oliver Gonzales/Rappler

As a substitute of fixing the persistent flooding, the character of John, performed by Aujel Orosco, reveals what number of native officers seize the chance to expel marginalized communities from their properties beneath the guise of relocation.

“Imbis na gawan ng paraan ang sobrang pagbabaha sa Eskwala, nagagawan pa nila ng paraan para gawing rason para pumirma sa pagkakaroon ng bagong mall at mapaalis ang mga residente,” John says.

(As a substitute of discovering a option to repair the extreme flooding in Eskwala, they even discover a manner to make use of it as a cause to log off on a brand new mall and displace the residents.)

FAIRY. Sharing a scorching meal, Sweet and her adoptive youngsters affirm that literacy is the important thing to liberation, important for the non-public empowerment of residents and the longer term improvement of Eskwala. Photograph by Zachary Oliver Gonzales/Rappler

Human rights violations

Talking of memorable strains, Sweet, performed by Sining Banwa’s senior resident artist Julie DM Bega, opens an important dialog in regards to the muffled voices of activists who defend and care for his or her communities.

Sweet repeatedly asks, in a second of frustration: “Bakit palagi mo ako tinataboy? Pinapatigil? Wala ba ako na karapatang magsalita at mapakinggan?“

(Why do you all the time push me away? Cease me? Don’t I’ve the precise to talk and be heard?)

In a area the place dissent has all the time been silenced, Sweet’s portrayal is an eerie reminder of the human rights abuses in Bicol. Within the play, defenders of Eskwala are labeled as “Eskwala, Terorista” (Eskwala, Terrorists), exhibiting how native human rights defenders wrestle day by day with censorship and red-tagging.

Human rights alliance Karapatan-Bicol recorded a minimum of 397 instances of abuses — together with media repression, violation of rights to arrange and affiliate, threats, harassment, intimidation, threats to complete communities, and red-tagging — within the area from July 2022 to December 2024

PROTEST. Fueled by dwta’s highly effective music ‘Kumilos,’ Eskwala residents increase their banners in protest, issuing a transparent name for reforms and an finish to rampant human rights abuses. Photograph by Zachary Oliver Gonzales/Rappler

This tradition is powerfully summarized in one of many play’s songs, “Kumilos,” by Bicolano singer and songwriter dwta.

“Gumagapang pataas, lumalaban ng patas. At kung might pang-aabuso at dahas, mapipilitang umaklas,” the lyrics goes.

(Crawling upwards, preventing pretty. And if there may be abuse and violence, we will likely be compelled to revolt.)

Performs like Higit sa Pag-ibig: The Musical show that artwork is not only leisure in Bicol — it’s the stage the place among the area’s deepest struggles are fought and the place the ultimate curtain on the group’s demand for justice by no means falls. – Rappler.com

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